Concert Review: Imperfection is Purity Ring’s secret weapon

Concert Review: Purity Ring at the Phoenix in Toronto

I’ve seen Purity Ring two times in the last six or so months, in radically different settings, with radically different crowds, and it’s fair to say they went two-for-two.

The last time was at the front of the stage at the Danforth Music Hall, featuring a condensed version of their elaborate lighting setup and in front of about 250 or so earlybird attendees of July’s Dirty Projectors concert. I argued that Purity Ring stole the show that night, but strangely I couldn’t figure out what had made them so magnetic in less than ideal circumstances. I figured it out on Friday night at the Phoenix.

The answer is imperfection. So many electronic groups get through a set without a hitch — not a note out of place, not a misplaced vocal or sample. It makes you wonder, more often than not, whether they aren’t just pressing play and moving around to simulate effort. But in Purity Ring’s set — which is driven in equal parts by Corin Roddick’s tireless percussion work, Megan James’ lightness and immaculate lighting design — feels different. It feels authentic.

Maybe that is because James spends half the show getting her vocals in key without bringing down the mood. Maybe it’s because Roddick takes the time to show you that the touch-sensitive orbs around him are actually partially responsible for driving the music. Neither of those things represented great musical moments, but they keep things off-kilter and oddly exciting.

This show was the last on Purity Ring’s tour. They head home now, likely to record new music. I’ll be over here, rooting for them.

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